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ASTANA – Kazakh nationwide music kui, historically performed on dombra or kobyz, captivates followers from throughout Kazakhstan. The music has turn into so in style that it prompted the Kazakh Ministry of Tradition and Sport to arrange a competition of conventional music Shertpe Kui that passed off in Almaty throughout Dec. 1-3, selling the music style that types an necessary a part of the Kazakh cultural heritage.
The winner of the competition amongst 45 contributors grew to become Madiyar Suleimenov incomes the grand prize of 1 million tenge (US$2,130). Photograph credit score: press service of Kazakh Ministry of Tradition and Sport
The three-day musical occasion took the viewers on a journey by way of the rhythms of the Kazakh world. The competition was composed of two rounds and featured younger dombra gamers aged 16-35 who competed performing 5 works of the normal shertpe kui faculty and one trendy composer’s melody. The winner of the competition amongst 45 contributors grew to become Madiyar Suleimenov incomes the grand prize of 1 million tenge (US$2,130).
The kui is a conventional Kazakh piece of music that isn’t only a set of rhythms, it takes one again to the distant previous the place Kazakh nomads expressed by way of it their liberty, pleasure, in addition to distress and every day worries. Music was pervasive in on a regular basis Kazakh life: it could possibly be heard throughout nationwide holidays, as a part of rituals and ceremonies, like weddings or the Nauryz (new yr) celebration.
The phrase “kui” (küy) within the Kazakh language additionally correlates with the notions of “temper” and “situation.” From this one can perceive the psychologism and the character of the style supposed to replicate all strikes of the human soul.
Kazakh conventional artwork of dombra kui was included within the UNESCO (United Nations Instructional, Scientific and Cultural Group) record of Intangible Cultural Heritage of Humanity in 2014.
Dombra, a conventional two-string Kazakh instrument stays the primary instrument to play kuis. Kuis on dombra are divided into two main classes: shertpe kui and tokpe kui, relying on the stream of the music.
Shertpe kuis are sometimes low-pitched and performed on dombra with the guidelines of the fingers of the precise hand. Whereas tokpe kui is carried out with an emphasis, with a full swing of the precise hand which provides the sound a flowing nature.
The Limp Kulan legend – the ability of supply of Kazakh kui
The sweetness and historic historical past of Kazakh kui has at all times fired the creativeness of the folks. Right here is the fascinating story on the supply energy of kui that lies within the performer’s mastery.
“Aksak kulan” (The Limp Kulan) is a Kazakh people kui performed by Ketbuga, based mostly on the legend, the occasions of that are associated to the dying of Jochi, the son of Genghis Khan, the emperor of the Mongol Empire.
A body from the 1968 animated film “Aksak kulan.”
In keeping with the legend, Jochi was eager on archery for kulans. As soon as he chased a herd of kulans so deep into the woods, that his group was left far behind. The chief of the herd, often called the Limp Kulan all of the sudden rotated and attacked Jochi, who fell off the horse, injured his neck, and died instantly.
Not one of the retinues dared to ship the information to Genghis Khan. The daddy’s coronary heart felt one thing was fallacious and threatened the dying penalty for anybody who reported dangerous information.
Listening to that, clever outdated Ketbuga zhyrau (kui performer) carved a dombra from a birch tree, strung the strings on it, and got here to Genghis Khan’s palace. He didn’t say a single phrase. Ketbuga started to play on dombra a tragic melody, a kui which instructed the story of how Jochi died and the Khan understood all the things.
The legend has it that after Ketbuga stopped taking part in, Genghis Khan mentioned “You should die in your sorrowful message, however since you haven’t uttered a phrase, your dombra might be punished. Fill the dombra’s throat with lead!”
That is additionally a narrative to clarify why the Kazakh dombra has a gap in the course of its physique half.
Aleksandr Zatayevich, preserving Kazakh kuis
A treasured interval of Kazakh music historical past together with 1000’s of kuis and songs was preserved and made recognized past Kazakhstan as a consequence of the in depth work carried out by Soviet ethnographer Aleksandr Zatayevich.
Aleksandr Zatayevich (M) has made an unlimited effort in recording and preserving the Kazakh conventional kuis and songs. Photograph credit score: e-history.kz
Zatayevich developed a fascination for the rhythms of outdated Kazakh kuis and songs after attending the Vernyi (present Almaty) congress of akyns (performers) in 1920. He recorded a handful of songs earlier than deciding to dedicate the following 10 years of his life to accumulating and recording the melodies of the steppe.
The results of over 10 years of effort, is the collections “1,000 songs of the Kazakh folks” and “500 Kazakh kuis and songs” revealed in 1931. The latter assortment included musical items of such exceptional composers as Abai Kunanbayev, Kurmangazy, Birzhan Sal, Zhayau Musa, Dauletkerey, Baluan Sholak, Muhit, Ibrai, in addition to notable people performers as Amre Kashaubayev, Gabbas Aitpaev, and Kali Baizhanov.
In 1931, in his unsent letter to Romain Rolland (French author), quoted in Kazakhstanskaya Pravda newspaper, Zatayevich wrote “the start of No. 482 (Otti-ketti music) reminds the tempo, the thematic growth of Beethoven, and the trio of this piece is nearly similar to musical formulation of Anton Rubinstein, who definitely couldn’t have recognized the Kazakh music, and No. 57 – this colourful march of Jochi Khan (the older son of Genghis Khan) is a real musical and archeological piece, worthy of some Stravinsky, and so forth,” describing the variety of Kazakh musical items.
One other letter addressed to Zatayevich’s daughter, presents an perception into the writer’s first assembly with a widely known Russian author Maxim Gorky and the story of Zatayevich taking part in him Kazakh kuis.
“The opposite day I used to be at Maxim Gorky’s. He invited me to sit down down in a pleasant approach, however once I simply began ‘final yr I despatched you, in Sorrento, my work ‘1,000 songs of the Kazakh folks’’, his eyes widened, a large smile unfold over his face, and he stood up and supplied his hand throughout the desk once more with the phrases: ‘I’m sorry, I didn’t hear you! So, you might be Zatayevich! You’ve despatched me essentially the most magnificent guide, the richest assortment of lovely melodies, which I’ve proven to many Italian musicians, who in flip admired them!’” wrote Zatayevich.
The writer continues within the letter: “Leaving, I expressed my need to play him my items sometime, when he prolonged his hand to the magnificent Bechstein (piano) saying ‘What about now?’ After all, I fortunately started taking part in “Adai” kui after which “Aida-bylpym,” “Ardak,” “Saryarka” – eight to 10 items in all! He then requested me to return over and play him and his associates extra when he will get again from his trip to Russia in 5 weeks. I gladly agreed.”
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